General Works

Articles and Books on Individual filmmakers: A-M

[Click on a filmmaker A-M] Alan Berliner Les Blank Nick Broomfield Ken Burns Ric Burns Frank Capra Debra Chasnoff Edward Curtis Peter Davis Emile de Antonio Arthur Dong Robert Drew Jon Else Harun Farocki Robert Flaherty William Greaves John Grierson and the British Documentary Movement William Greaves Patricio Guzman Henry Hampton Werner Herzog Deborah Hoffmann Joris Ivens Steven James Humphrey Jennings Isaac Julien Jim Klein Barbara Kopple Claude Lanzmann Pare Lorentz March of Time The Maysles Brothers Ross McElwee Michael Moore Errol Morris

Articles and Books on Individual filmmakers: N-Z

[Click on a filmmaker N-Z] Marcel Ophuls Dennis O'Rourke D.A. Pennebaker Lourdes Portillo Alain Resnais Leni Riefenstahl Jean Rouch Trinh T. Minh-Ha Dziga Vertov Fred Wiseman Basil Wright Terry Zwigoff

listing of classic documentary works in MRC. This listing also includes references to books and articles about individual documentary filmmakers.

Essay on the General Post Office Film Unit (British Documentary Movement)

General Works

Alexander, William

Film on the Left: American Documentary Film From 1931 to 1942 / William Alexander. Princeton, N.J.: Princeton University Press, c1981.

UCB Main PN1995.9.D6 .A38

Moffitt PN1995.9.D6 .A38

Alter, Nora M.

Projecting history: German nonfiction cinema, 1967-2000 Ann Arbor: University of Michigan Press, c2002.

MAIN: PN1995.9.D6 A39 2002

Arthur, Paul

"But Enough About You: First-person documentaries." Film Comment v. 42 no. 4 (July/August 2006) p. 24-5

"First-person documentary films have become increasingly common. Once an aesthetic stronghold of supposedly objective representations of reality, nonfiction moviemaking used to base its guarantees of authority and veracity on a universalized "we." Now, the most accurate, not to mention most compelling, cine-actualities are personal as well as explicitly partial, fragmentary, provisional, and often colloquial. These filmmakers are conveying "truths" that disavow comprehensive knowledge or higher ethical standards." [Art Index]

Arthur, Paul

"Essay Questions: From Alain Resnais to Michael Moore: Paul Arthur Gives a Crash Course in Nonfiction Cinema's Most Rapidly Evolving Genre." Film Comment 39:1 [January-February 2003] p. 58-62

UC users only

Arthur, Paul.

"Feel the Pain." Film Comment. Sep/Oct 2004. Vol. 40, Iss. 5; pg. 47, 4 pgs

UC users only

First-person documentaries are soothing the angst of their makers. It is embraced as a therapy intended to help their makers clarify, and ultimately begin to resolve, psychosocial problems often involving familial tension or trauma. Here, Arthur enumerates several first-person documentaries by several filmmakers.

Aufderheide, Patricia.

"The Camera as Conscience: How Social Issues Inspire Moving Documentaries. Chronicle of Higher Education v45, n9 (Oct 23, 1998):B7 (2 pages).

Aufderheide, Patricia.

Documentary film : a very short introduction Oxford ; New York : Oxford University Press, c2007.

MOFF: PN1995.9.D6 A94 2007

Table of contents only http://www.loc.gov/catdir/toc/ecip0717/2007018114.html

Aufderheide, Patricia.

"Public Intimacy: The Development of First-person Documentary." Afterimage v25, n1 (July-August, 1997):16 (3 pages).

UC users only

Baddeley, Walter Hugh.

The Technique of Documentary Film Production. With a pref. by Paul Rotha. London, New York, Focal Press [1966, c1963]. Series title: Library of communication techniques.

UCB Main PN1995.9.D6 B3

Baker, Maxine.

Documentary in the digital age Oxford; Burlington, MA: Focal Press, 2006.

MAIN: PN1995.9.D6 B35 2006

Barbash, Ilisa

Cross-cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Videos / Ilisa Barbash and Lucien Taylor; technical illustrations by Sandra Murray; figure drawings by Chad Vaughan. Berkeley: University of California Press, c1997.

UCB Anthropol GN347 .B37 1997 Reference

Available online - UC users only

Barnouw, Erik

Documentary: A History of the Non-fiction Film / Erik Barnouw. 2nd rev. ed. New York: Oxford University Press, 1993.

UCB Main PN1995.9.D6 B37 1993

Contents via Google Books

Barnouw, Erik

Documentary: A History of the Non-fiction Film / Erik Barnouw. Rev. ed. Oxford [Oxfordshire]; New York: Oxford University Press, 1983.

UCB Anthropol PN1995.9.D6 B37 1983

UCB Main PN1995.9.D6 B37 1983

UCB Media Ctr PN1995.9.D6 B37 1983

Barnouw, Erik

Documentary: A History of the Non-fiction Film / Erik Barnouw. New York: Oxford University Press, 1974.

UCB Main PN1995.9.D6 B371

UCB Moffitt PN1995.9.D6 B37

Barsam, Richard Meran.

Nonfiction Film; A Critical History. Foreword by Richard Dyer MacCann. [1st ed.]. New York, Dutton, 1973.

UCB Main PN1995.9.D6 B38

UCB Moffitt PN1995.9.D6 B38

Barsam, Richard Meran.

Nonfiction Film: A Critical History / Richard M. Barsam. Rev. and expanded. Bloomington; Indiana University Press, c1992.

UCB Main PN1995.9.D6 B38 1992

UCB Moffitt PN1995.9.D6 B38 1992

Beattie, Keith

Documentary screens: non-fiction film and television New York: Palgrave Macmillan, 2004.

MAIN: PN1995.9.D6 B384 2004;

Bernini, Emilio

"Politics and the documentary film in Argentina during the 1960s." Journal of Latin American Cultural Studies Volume 13, Number 2 / August 2004 Pages: 155 - 170

UC users only

Between the Sheets, in the Streets: Queer, Lesbian, and Gay Documentary

Chris Holmlund and Cynthia Fuchs, editors. Minneapolis: University of Minnesota Press, c1997.

Main Stack P96.D622.U63 1997

Beyond Document: Essays on Nonfiction Film

Edited by Charles Warren. Hanover, NH: University Press of New England, c1996.

UCB Main PN1995.9.D6 B48 1996

UCB Moffitt PN1995.9.D6 B48 1996

Birri, Fernando

"The roots of documentary realism." In: Argentine cinema / edited by Tim Barnard. Toronto: Nightwood Editions, c1986.

Main Stack PN1993.5.A7.B3761 1986

VIDEORECORDING

Black Mountain Revisited

Maryland Institute, College of Art; project director, Joe Cardarelli. [Baltimore, Md.]: Viridian Productions of the Maryland Institute, College of Art, c1990. 1 videocassette (54 min.); sd., col.; 1/2 in. VHS. Series title: Original Black Mountain series.

UCB Bancroft Motion Picture 812 D

Brom, John L.

The Pitiless Jungle / by John L. Brom; translated by Oliver Coburn. London: Mayflower, 1955.

UCB Main PN1997.B7 B7

Bromley, Carl.

"While the Academy Slept; The strange career of the documentary Oscar." The Nation, April 2, 2001 v272 i13 p40

Brownlow, Kevin.

The War, the West, and the Wilderness / Kevin Brownlow. 1st ed. New York: Knopf; distributed by Random House, 1979, c1978.

UCB Main PN1993.5.U6 .B76 1979

UCB Moffitt PN1993.5.U6 .B76

Brunner, Edward.

"Ersatz Truths: Variations on the Faux Documentary." Postmodern Culture: An Electronic Journal of Interdisciplinary Criticism 8.2 (January 1998):

Bruzzi, Stella

New documentary: a critical introduction / Stella Bruzzi. London; New York: Routledge, 2006.

Table of contents http://www.loc.gov/catdir/toc/ecip069/2006006456.html

MAIN: PN1995.9.D6 B78 2006

MOFF: PN1995.9.D6 B78 2006

Main Stack PN1995.9.D6.B78 2000[earlier edition]

Moffitt PN1995.9.D6.B78 2000 [earlier edition]

Bryant, Marsha

Auden and Documentary in the 1930s / Marsha Bryant. Charlottesville: University Press of Virginia, 1997.

UCB Main PR6001.U4 Z625 1997

Bullert, B. J.

Public television; politics and the battle over documentary film / B.J. Bullert. New Brunswick, N.J.; Rutgers University press, c1997. Communications, media, and culture.

Electronic version (UC users only)

Main Stack HE8700.79.U6.B85 1997

Candid eyes: essays on Canadian documentaries

Edited by Jim Leach and Jeannette Sloniowski. Toronto; Buffalo: University of Toronto Press, c2003.

Main Stack PN1995.9.D6 C362 2003

Carroll, Noel.

"Nonfiction Film and Postmodernist Skepticism." In: Post-Theory: Reconstructing Film Studies. Edited by David Bordwell and Noel Carroll. pp: 283-306. Madison: University of Wisconsin Press, c1996. Wisconsin studies in film

Main Stack PN1994.P6565 1996

Casebier, Allan.

"Idealist and Realist Theories of the Documentary." Post Script: Essays in Film and the Humanities 6.1 (Fall 1986): 66-75.

Chanan, Michael.

"The documentary in the Revolution." In: Cuban cinema / Michael Chanan. Minneapolis: University of Minnesota Press, c2004.

Main Stack PN1993.5.C8.C48 2004

PFA PN1993.5.C8.C45 2004

Chris, Cynthia

Watching wildlife Minneapolis: University of Minnesota Press, c2006.

MAIN: PN1995.9.A5 C47 2006; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip063/2005033456.html

Chu, Yingchi.

Chinese documentaries: from dogma to polyphony London; New York: Routledge, 2007.

MAIN: PN1995.9.D6 C48 2007; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip075/2006039265.html

Cinematographic Theory and New Dimensions in Ethnographic Film

Edited by Paul Hockings and Yasuhiro Omori. Osaka; National Museum of Ethnology, 1988. Series title: Senri ethnological studies no. 24.

UCB Anthropol GN347 .C56 1988

Collecting visible evidence

Jane M. Gaines and Michael Renov, editors. Minneapolis: University of Minnesota Press, c1999. Visible evidence; v. 6

Papers from three annual conferences held beginning in 1993.

Main Stack PN1995.9.D6.C535 1999

Cooper, Sarah

Selfless cinema?: ethics and French documentary Oxford: Legenda, 2006.

MAIN: PN1995.9.D6 C66 2006

Corless, K.

"Documentaries: Thinking outside the box." [Includes an interview with Nick Broomfield]. Sight & Sound v. ns17 no. 1 (January 2007) p. 30-1

UC users only

"Part of a special section on contemporary British cinema. The longstanding and close-knit relationship between British television and documentaries has been both a blessing and a curse. Although the likes of Cutting Edge and True Stories on Channel 4 and the BBC's Modern Times have served as breeding-grounds for exciting, experimental documentary-makers, the ten commissioning outlets in Britain have recently shrunk to around two. Furthermore, although More4 originally promised a space for idiosyncratic authored documentaries, the commitment to broadcasting British work seems to have waned, and Channel 4's British Documentary Film Foundation, which was set up to make development funds available, has been criticised as being financially inadequate. However, new modes of distribution--a growing number of festivals dedicated to documentary film, and the affordability of digital technologies--should encourage a more adventurous aesthetic in the field of documentary filmmaking." [Art Index]

Corner, John

The art of record: a critical introduction to documentary / John Corner. Manchester; New York: Manchester University Press; New York, NY, USA: Distributed exclusively in the USA and Canada by St. Martin's Press, 1996.

Main Stack PN1995.9.D6.C57 1996

Corner, John.

"'Documentary' in Dispute." International Journal of Cultural Studies 4.3 (September 2001): 352-59.

Corless, Kieron

"Documentaries: Thinking outside the box" (Includes an interview with Nick Broomfield)Sight & Sound v. ns17 no. 1 (January 2007) p. 30-1

UC users only

"Part of a special section on contemporary British cinema. The longstanding and close-knit relationship between British television and documentaries has been both a blessing and a curse. Although the likes of Cutting Edge and True Stories on Channel 4 and the BBC's Modern Times have served as breeding-grounds for exciting, experimental documentary-makers, the ten commissioning outlets in Britain have recently shrunk to around two. Furthermore, although More4 originally promised a space for idiosyncratic authored documentaries, the commitment to broadcasting British work seems to have waned, and Channel 4's British Documentary Film Foundation, which was set up to make development funds available, has been criticised as being financially inadequate. However, new modes of distribution--a growing number of festivals dedicated to documentary film, and the affordability of digital technologies--should encourage a more adventurous aesthetic in the field of documentary filmmaking." [Art Index]

Cunningham, Megan.

The art of the documentary: ten conversations with leading directors, cinematographers, editors, and producers Berkeley, CA: New Riders, 2005.

MAIN: PN1995.9.D6 C75 2005

Curtin, Michael.

Redeeming the Wasteland: Television Documentary and Cold War Politics. New Brunswick, New Jersey: Rutgers University Press, 1995.

Main Stack PN1992.8.D6.C87 1995

Moffitt PN1992.8.D6.C87 1995

Cussler, Margaret.

Not By a Long Shot; Adventures of a Documentary Film Producer. New York, Exposition Press [1951].

UCB Main PN1995.9.D6 C8

NRLF $B 120 656 Type EXP NRLF for loan details.

Cvetkovich, Ann

"In the Archives of Lesbian Feeling: Documentary and Popular Culture." Camera Obscura - Volume 17, Number 1, 2002 - Article

UC users only

Davidson, David.

"Depression America and the Rise of the Social Documentary Film." Chicago Review 34.1 (Summer 1983): 69-88.

A directory of Indian documentary

Compiled & edited by Sanjit Narwekar.Mumbai: Mumbai International Film Festival for Documentary, Short & Animation Films, 1998.

MAIN: PN1995.9.D6 D5 1998;

Docu-scene, India

Edited by Opender Chanana. Bombay: Indian Documentary Producers' Association: Films Division, [1987].

UCB Main PN1995.9.D6 D531 1987

Documentary and the Mass Media

Editor, John Corner. London; Baltimore, Md., U.S.A.: E. Arnold, 1986. Series title: Stratford-upon-Avon studies. Second series.

UCB Main P90 .D621 1986

The Documentary Conscience: A Casebook in Film Making

Alan Rosenthal. Berkeley: University of California Press, c1980.

UCB Main PN1995.9.D6 .D55

UCB Moffitt PN1995.9.D6 .D55

"Documentary, the digital age's first casualty" In: Cinema futures: Cain, Abel or cable?: the screen arts in the digital age / edited by Thomas Elsaesser and Kay Hoffmann. Amsterdam: Amsterdam University Press, c1998.

Main Stack PN1994.C5214 1998

Docufictions: essays on the intersection of documentary and fictional filmmaking.

Edited by Gary D. Rhodes and John Parris Springer. Jefferson, N.C.: McFarland & Co., c2006.

MAIN: PN1995.9.D62 D63 2006

Moffitt PN1995.9.D62.D63 2006

PFA PN1995.9.D62.D63 2006

Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005012767.html

The Documentary Film Movement: An Anthology

Edited and introduced by Ian Aitken. Edinburgh: Edinburgh University Press, c1998.

Main Stack PN1995.9.D6.D56 1998

Documenting the Documentary: Close Readings of Documentary Film and Video / Wayne State University Press, c1998.

Main Stack PN1995.9.D6D58 1998

Moffitt PN1995.9.D6D58 1998

Dornfeld, Barry

"Putting American public television documentary in its places." In: Media worlds [electronic resource]: anthropology on new terrain / edited by Faye D. Ginsburg, Lila Abu-Lughod, and Brian Larkin. Berkeley: University of California Press, c2002

Full-text of this book available (eScholarship. Restricted to UC campuses)

Dorst, John D.

"Which Came First, the Chicken Device of the Textual Egg? Documentary Film and the Limits of the Hybrid Metaphor." Journal of American Folklore. 112.445 (Summer 1999): 268-81.

"Though hybridity is certainly a productive theoretical metaphor, there are limits to its usefulness. In our postmodern, "telectronic" culture, we are surrounded by examples of boundary confusion between text-generating devices and texts themselves. The organic metaphor of hybridity is of limited value in theorizing these conflations. This article considers examples of such collapse between text and "apparatus" in the documentary films of Errol Morris, particularly his 'folklife" portrait of a small town in Florida." [Expanded Academic Index]

Double take: looking at the documentary

Edited by Raqs Media Collective. [New Delhi]: Foundation for Universal Responsibility of His Holiness the Dalai Lama in association with the Public Service Broadcasting Trust, 2000.

Main Stack PN1995.9.D6.D64 2000

India's quest: the films: an experiment / Rajiv Mehrotra -- Playing with flux - constructing an argument in documentary films / Sanjay Kak -- "Can you cut it down?": commissioning conversations / Ruchir Joshi -- A frame of mind - researching documentaries / Raqs Media Collective -- The other eye - on documentary cinematography / Ranjan Palit -- Listening to sound / Samina Mishra -- Sync-sound - technology, aesthetics & problems / Indrajit Neogi -- "And sound tracks merely happen ...": metaphors, mixers & microphones / Uma Shankar -- "Scrambling with many things to say...": notes from the editing room / Sameera Jain -- Snakes & butterflies: the natural history of the rough-cut / Ruchir Joshi -- documentary.doc / Anita Roy -- On watching documentaries / Mukul Kesavan -- Talking to the audience / Rajeev Bhargava -- The hum of conversations / Shuddhabrata Sengupta. Collection of essays on the thoughts and reflections of filmmakers, technicians etc.

Dovey, Jon.

Freakshow: First Person Media and Factual Television. Sterling, Virginia: Pluto Press, 2000

Main Stack PN1992.8.R43.D68 2000

Druick, Zoe.

Projecting Canada: government policy and documentary film at the National Film Board of Canada Montreal; Ithaca: McGill-Queen's University Press, c2007.

MAIN: PN1993.5.C2 D78 2007

Dunne, Philip

"The Documentary and Hollywood." Hollywood Quarterly, Vol. 1, No. 2 (Jan., 1946), pp. 166-172

UC users only

Eitzen, Dirk.

"When Is a Documentary? Documentary as a Mode of Reception." Cinema Journal, vol. 35 no. 1. 1995 Fall. pp: 81-102.

UCB users only

Ellis, Jack C.

"American documentary in the 1950s." In: Transforming the screen, 1950-1959 / Peter Lev. New York: Charles Scribner's Sons, 2003.

Main Stack PN1993.5.U6.H55 1990 v.7

Ellis, Jack C.

The Documentary Idea: A Critical History of English-language Documentary Film and Video / Jack C. Ellis. Englewood Cliffs, N.J.; Prentice Hall, c1989.

UCB Moffitt PN1995.9.D6 E45 1989

Ellis, Jack C.

A new history of documentary film New York: Continuum, c2005.

MOFF: PN1995.9.D6 E46 2005

Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005013290.html

Encyclopedia of the documentary film

Ian Aitken, editor.New York: Routledge, 2006.

Media Center: PN1995.9.D6 E53 2006

MAIN: PN1995.9.D6 E53 2006

Ethnographic Film Aesthetics and Narrative Traditions: Proceedings from NAFA 2

Edited by Peter Ian Crawford and Jan Ketil Simonsen. Aarhus [Denmark]: Intervention Press in association with the Nordic Anthropological Film Association, 1992.

UCB Anthropol GN347 .E84 1992

Film and Propaganda in America: A Documentary History

Editor-in-chief, David Culbert. New York; Greenwood Press, 1990-1991. Series title: Documentary reference collections.

UCB Main PN1993.5.U6 F47 1990 v.1-4 (1990-1991)

Feldman, Allen.

"Faux Documentary and the Memory of Realism." American Anthropologist v100, n2 (June, 1998):494 (9 pages).

Film and the First World War

Edited by Karel Dibbets, Bert Hogenkamp. Amsterdam; Amsterdam University Press, c1995. Series title: Film culture in transition.

NRLF B 4 090 175 Type EXP NRLF for loan details.

Film and the Historian.

London, British Universities' Film Council, 1968.

NRLF D16.255.A8F5 off campus

Film Council of America.

Sixty Years of 16mm Film, 1923-1983: A Symposium. Editorial board: Forrest Alter [and others. Evanston, Ill., 1954]. Series title: Film counselor series, no.1.

UCB Main LB1044.A2 F45 no.1

Fitzsimmons, Stephen J.; Hobart G. Osburn

"The Impact of Social Issues and Public Affairs Television Documentaries." The Public Opinion Quarterly, Vol. 32, No. 3. (Autumn, 1968), pp. 379-397.

UC users only

What are the various effects of television news documentaries on the knowledge level of the viewer; his attitudes and attitude dimensions; and his potential for changing certain behaviors? To answer such questions, the changes that occurred following exposure to television documentaries dealing with five separate topics were examined and compared. Particular attention was paid to effects that occurred irrespective of topic; the role of initial position in mediating change; and the interrelationship among changes. The personality variables of "open-mindedness" and "intelligence" were also examined.

From Grierson to the docu-soap: breaking the boundaries

Edited by John Izod and Richard Kilborn with Matthew Hibberd. Luton, Bedfordshire, UK: University of Luton Press, c2000.

Main Stack PN1995.9.D6.F76 2000

Funari, Vicky; Taylor, Jennifer Maytorena.

"Close-knit Community: Documakers Find Strength in Shared Indie Vision, Battle." (the San Francisco documentary filmmaker community from two filmmakers' point of view)(Showbiz City: San Francisco) Variety v371, n10 (July 20, 1998):34.

Garrett, Greg

"It's everybody's war: racism and the World War Two documentary." Journal of Popular Film and Television, Summer 1994 v22 n2 p70(9)

UC users only

"American propaganda during World War II focused on defining the principles of democracy, emphasizing that the war was one every American should support, regardless of race or color. However, the armed forces during that conflict were still segregated, a fact that is not lost in most of the documentary films of the time. Although the main message in these films were that 'it is everybody's war,' the undertone taken always reflected the superiority of white America." [Expanded Academic Index]

Girgus, Sam B.

America on film: modernism, documentary, and a changing America Cambridge; New York: Cambridge University Press, 2002.

MAIN: PN1995.9.U64 G57 2002

Godmilow, Jill and Shapiro, Ann-Louise

"How Real is the Reality in Documentary Film?

also in:

Producing the past: making histories inside and outside the academy / edited by Ann-Louise Shapiro. Middletown, Conn.]: Wesleyan University, c1997.

Main Stack D6.H655.B4 v.36

Goldsmith, David A.

The documentary makers: interviews with 15 of the best in the business Crans-Pr`es-Celigny: Hove: RotoVision, 2003.

MAIN: PN1995.9.D6 G65 2003

Graham, Peter

"Cinema-Verite" in France." Film Quarterly, Vol. 17, No. 4. (Summer, 1964), pp. 30-36.

UC users only

Grenville, J. A. S. (John Ashley Soames)

Film as History: the Nature of Film Evidence, an inaugural lecture delivered in the University of Birmingham on 5th March 1970, by J. A. S. Grenville. [Birmingham, Eng., University of Birmingham, 1971].

UCB Main D16 .G81

Grierson, John

Grierson on Documentary Revised ed. London, Faber, 1966.

Moffitt PN1995.9.D6.G75 1966

Main Stack PN1995.9.D6.G751 1947 (another edition)

Griffiths, Alison

Wondrous difference: cinema, anthropology & turn-of-the-century visual culture New York: Columbia University Press, c2002.

ANTH: GN347 .G73 2002

PFA: PN1995.9.E8 G74 2002

Grindon, Leger 1949-

"Q & A: Poetics of the Documentary Film Interview." The Velvet Light Trap - Number 59, Fall 2008, pp. 4-12

UC users only

Guynn, William Howard.

A Cinema of Nonfiction / William Guynn. Rutherford: Fairleigh Dickinson University Press; London; Cranbury, NJ; Associated University Presses, c1990.

UCB Main PN1995.9.D6 G89 1989

UCB Moffitt PN1995.9.D6 G89 1989

Hampe, Barry.

Making Documentary Films and Reality Videos: A Practical Guide to Planning, Filming, and Editing Documentaries of Real Events / Barry Hampe. 1st ed. New York: Henry Holt and Company, 1997.

UCB Moffitt PN1995.9.D6 H26 1997

Hankin, Kelly.

"And Introducing. . . The Female Director: Documentaries about Women Filmmakers as Feminist Activism." NWSA Journal - Volume 19, Number 1, Spring 2007, pp. 59-88

UC users only

"Statistical and anecdotal evidence suggest that, in both the Hollywood and commercial independent film industries, female directors are not given the same support and opportunities as their male counterparts. As a result, there are a number of activist projects and organizations working to challenge and raise awareness about this inequity. This essay examines the role a new genre of documentary plays in this larger activist endeavor. Beginning in the 1990s, several documentaries emerged featuring women filmmakers of varying national, racial, and sexual identities who work in a range of film production practices. I argue that by privileging the voices and experiences of these diverse female directors—something our own feminist film scholarship tends not to do—these documentaries function as important activist texts in women's studies and media studies classrooms. Because most undergraduates are woefully ignorant about the films of female directors, let alone the avenues to and barriers against filmmaking that exist for women, these documentaries play a crucial activist role in raising awareness about the social and cultural forces shaping women directors and their films. Moreover, by modeling a spectrum of "do- it-yourself" possibilities, these documentaries encourage female students to imagine their own potential as filmmakers." [Project Muse]

Heider, Karl G.

Ethnographic Film / by Karl G. Heider. Austin: University of Texas Press, c1976.

UCB Anthropol GN347 .H441 *c2 copies

UCB Moffitt GN347 .H441

Heider, Karl G.

Seeing Anthropology: Cultural Anthropology Through Film / Karl G. Heider Boston, MA: Allyn and Bacon, c1997.

UCB Anthropol GN347 .H46 1997

Henson, Pamela M.; Terri A. Schorzman

"Videohistory: Focusing on the American Past." The Journal of American History Vol. 78, No. 2 (Sep., 1991), pp. 618-627

UC users only

Heusch, Luc de.

The Cinema and Social Science; A Survey of Ethnographic and Sociological Films. [Paris] UNESCO [1962]. Series title: Reports and papers in the social sciences; no. 16.

UCB Main PN1995.9.D6 H4

NRLF $C 30 894

Heyman, Neil M.

Western Civilization: A Critical Guide to Documentary Films / Neil M. Heyman. Westport, Conn.: Greenwood Press, 1996.

UCB Main CB245 .H45 1996

Higgins, Lynn A.

"Documentary in an Age of Terror." South Central Review - Volume 22, Number 2, Summer 2005, pp. 20-38

UC users only

"Noting that "blockbuster documentary" is no longer an oxymoron, the essay investigates the recent renaissance of documentary genres in the light of the post-9/11 American political and cultural climate. It suggests that the recent appetite for documentaries might arise from anxieties about access to reliable information about the real. In a context where more and more information is "classified," officially and unofficially commodified, or subjected to outright falsification, and where the technologies for image-manipulation are increasingly sophisticated, the filmmakers and other image-makers studied here use various rhetorical, generic, and narrative strategies to resist the replacement of reality by images. The emergence of the "making of" subgenre suggests that all images can now credibly depict is insight into how mediation works. Examples include Morgan Spurlock's Supersize Me, Iranian filmmaker Samira Makhmalbaf's contribution to the collection of short films entitled 11-9-01: September 11, Michael Moore's Fahrenheit 9/11, Art Spiegelman's In the Shadow of No Towers, Terry Gilliam's Lost in La Mancha, and Wolfgang Becker's Good Bye Lenin!." [Project Muse]

Hogan, Kathleen

""Reaping the Golden Harvest: Pare Lorentz, Poet and Filmmaker."

This website offers a beginning point for the digital preservation and presentation of these revolutionary 1930s documentary films. Focuses on The Worker's Film and Photo League and Frontier Films.

Hogarth, David

Realer than reel: global directions in documentary Austin: University of Texas Press, 2006.

MAIN: PN1995.9.D6 H56 2006; MOFF: PN1995.9.D6 H56 2006

Table of contents http://www.loc.gov/catdir/toc/ecip0511/2005011657.html

Hogue, Peter

"Genre-busting: documentaries as movies." Film Comment, July-August 1996 v32 n4 p56(5)

UC users only

Documentary filmmaking has taken on a new style of storytelling that is usually more associated with dramatic films. Recent examples of these new types of documentaries can be seen in the narrative structures and characterization of the films 'Hoop Dreams' and 'Crumb.'

"How Real is the Reality in Documentary Film?" (Jill Godmilow, in Conversation with Ann-Lousie Shapiro)(Interview) History and Theory v36, n4 (Dec, 1997):80 (22 pages).

Huffman, Nicole

"New Frontiers in American Documentary Film."

This website offers a beginning point for the digital preservation and presentation of these revolutionary 1930s documentary films. Focuses on The Worker's Film and Photo League.

Huggan, Graham

"Australia, America, and the changing face of nature documentary." In: Imagining Australia: literature and culture in the new new world / edited by Judith Ryan and Chris Wallace-Crabbe. Cambridge, Mass.; London: Harvard University Press: 2004.

Main Stack PR9609.6.I43 2004

Image as Artifact: The Historical Analysis of Film and Television

John E. O'Connor, editor. Malabar, Fla.: R.E. Krieger Pub. Co., 1990.

UCB Main D16.18 .I45 1990

Imagining reality: the Faber book of documentary. Rev. ed. London: Faber and Faber, 2006.

MAIN: PN1995.9.D6 I43 2006

Introduction to documentary production

[edited by Searle Kochberg]. London: Wallflower, 2002.

PFA PN1995.9.D6.I68 2002

Isenberg, Michael T.

War on Film: The American Cinema and World War I, 1914-1941 / Michael T. Isenberg. Rutherford: Fairleigh Dickinson University Press, c1981.

UCB Main D522.23 .I8

Jacobs, Lewis.

The Documentary Tradition / selected arranged, and introduced by Lewis Jacobs. 2d ed. New York: W. W. Norton, c1979.

UCB Main PN1995.9.D6 .J3 1979

UCB Moffitt PN1995.9.D6 .J3 1979 *c3 copies

Jacobs, Lewis.

The Documentary Tradition, from Nanook to Woodstock. New York, Hopkinson and Blake [1971].

UCB Moffitt PN1995.9.D6 J3

NRLF B 3 567 661 Type EXP NRLF for loan details.

Jag Mohan.

Documentary Films and National Awakening / Jag Mohan. New Delhi; Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1990.

UCB Main PN1995.9.D6 J34 1990

The Japan/America Film Wars: World War II Propaganda and its Cultural Contexts

Edited by Abe Mark Nornes and Fukushima Yukio. Chur, Switzerland; Langhorne, Pa., USA: Harwood Academic Publishers, c1994. Series title: Studies in film and video v. 1.

UCB Main D743.23 .J36 1994

Jump Cut: Hollywood, Politics, and Counter Cinema

Edited by Peter Steven. New York, NY: Praeger, 1985.

UCB Main PN1995.9.E96 J81 1985

UCB Moffitt PN1995.9.E96 J8 1985

DISSERTATION

Kahn, Lorraine.

Cinematic Collaborations: Production System and Film Structure in Documentary / by Lorraine Kahn. c1990.

NRLF PN1995.9.D6K34 1990 off campus

Katz, Robert; Katz, Nancy

"Documentary in Transition, Part I: The United States." Hollywood Quarterly, Vol. 3, No. 4. (Summer, 1948), pp. 425-433.

UC users only

King, Margaret J.

"The Audience in the Wilderness: The Disney Nature Films." Journal of Popular Film and Television, vol. 24 no. 2. 1996 Summer. pp: 60-68.

Klein, Walter J.

The Sponsored Film / by Walter J. Klein. New York; Hastings House, c1976.Series title: Communication arts books.

UCB Bus&Econ HF5844 .K541 1976 WITHDRAWN

Kline, Mary-Jo.

A guide to documentary editing Baltimore: Johns Hopkins University Press, c1987.

MAIN: Z113.3 .K551 1987; Storage Info: B 4 033 478

Lane, Jim

The autobiographical documentary in America Madison: University of Wisconsin Press, c2002.

UCB MAIN: CT25 .L27 2002

Lane, Jim.

"Notes on Theory and the Autobiographical Documentary Film in America." Wide Angle, 15(3), 21-36.(1993)

Lay, Samantha.

British social realism: from documentary to Brit-grit London: Wallflower, 2002.

UCB MAIN: PN1995.9.D6 L39 2002

Leuthold, Steven.

"Native American Documentary: An Emerging Genre?" Film Criticism v22, n1 (Fall, 1997):74 (16 pages).

Documentary films made by and/or about Native Americans are beginning to form the symbolic and situational precedents for genre. Development of Native American documentaries is too recent to produce regional styles, but many such films are linked by their common considerations of cultural preservation, the relationships of Native Americans to Western institutions, and how one generation maintains continuity with another.

Leuthold, Steven.

Indigenous Aesthetics: Native Art, Media, and Identity / / by Steven Leuthold. 1st ed. Austin: University of Texas Press, 1998.

Main Stack E59.A32 L48 1998

Leuthold, Steven.

"Native Media's Communities." (Native Americans) American Indian Culture and Research Journal v21, n2 (Spring, 1997):165 (31 pages).

Native Americans have become increasingly aware of the potential uses of visual media technologies in depicting their culture. They, however, continue to be suspicious of whites' depiction of their community life as the latter tend to misunderstand the social features they deemed important and produce stereotypes incompatible with the Indians' self perceptions. Alternatively, the natives have started to produce their own video documentaries in which the depictions of their culture and beliefs are totally in their control.

Leuthold, Steven.

"Rhetorical Dimensions of Native American Documentary." Wicazo Sa Review - Volume 16, Number 2, Fall 2001, pp. 55-73 -

UC users only

Levasseur, Audrey

"Film and Video Self-Biographies." Biography: An Interdisciplinary Quarterly, 2000 Winter, 23:1, 176-92.

UC users only

Levin, G. Roy.

Documentary Explorations; 15 Interviews with Film-makers [by] G. Roy Levin. [1st ed.]. Garden City, N.Y., Doubleday, 1971.

UCB Moffitt PN1995.9.D6 L47

Leyda, Jay

Films Beget Films. [1st American ed.]. New York, Hill and Wang [1964].

UCB Moffitt PN1996 .L45 1964

Leyda, JayFilms Beget Films / Jay Leyda. London: Allen & Unwin, 1964.

UCB Main PN1996 .L45

Loizes, Peter

Innovation in Ethnographic Film: From Innocence to Self-consciousness, 1955-85 / Peter Loizos. Chicago; University of Chicago Press, 1993.

UCB Anthropol GN347 .L65 1993

Lovell, Alan.

Studies in Documentary [by] Alan Lovell and Jim Hillier. New York, Viking Press [1972]. Series title: Cinema one, 21.

UCB Moffitt PN1995.9.D6 L61

Lovell, Alan.

Studies in Documentary [by] Alan Lovell and Jim Hillier. London, Secker and Warburg [for] the British Film Institute, 1972. Series title: Cinema one, 21.

Low, Rachael.

Documentary and Educational Films of the 1930's / by Rachael Low. London: G. Allen & Unwin; New York: distributed by R. R. Bowker, 1979. Series title: Low, Rachael The history of the British film.

UCB Main PN1993.5.G7 .L6 v.5:2

MacCann, Richard Dyer.

The People's Films; A Political History of U.S. Government Motion Pictures. New York, Hastings House [1973]. Series title: Studies in public communication. Series title: Communication arts books.

UCB Main PN1995.9.D6 M31

UCB Moffitt PN1995.9.D6 M3

MacDonald, Myra

"Performing memory on television: documentary and the 1960s." Screen (London, England) v. 47 no. 3 (Autumn 2006) p. 327-45

"Focusing on recollections of the 1960s, the writer examines how the performance of memory on British television is inflected by televisual codes and conventions that act both to vivify but also to constrict "memory work." In line with television's greater interest in the everyday, she concentrates on its production of "cultural memory" of the 1960s, and in particular on the cultural negotiation through which various stories compete for a place in history. Investigating memories of the 1960s that come from television documentaries in the 1990s, she considers the performing of television memories in terms of narrational style, bodily expressiveness, physical location, and distance or proximity to the object of recollection. She then discusses how television documentary's use of commentary and editing practices, particularly when memories are interlaced with archive footage or images, either constrains or opens up the interrogative capacity of witnesses' memory work." [Art Index]

Making history: art and documentary in Britain from 1929 to now. London: Tate Publishing, 2006.

MAIN: N72.M6 M335 2006

Published on the occasion of the exhibition: Making history: art and documentary in Britain from 1929 to now, held at Tate Liverpool, 3 February-23 April 2006.

Marks, Dan.

"Ethnography and Ethnographic Film: From Flaherty to Asch and After." (visual ethnographers Robert Flaherty and Timothy Asch) American Anthropologist v97, n2 (June, 1995):339 (9 pages).

Visual ethnographers Robert Flaherty and Timothy Asch's ethnographic films reflected and helped develop the methodology and themes of ethnographic research. Films such as Flaherty's 'Nanook of the North' and Asch's 'The Ax Fight' presented new approaches in ethnographic film production and subject representation. Asch's film also prefigured other ethnographers' attempts to present explanations of social data and applying such interpretations to higher-order analytical problems.

Martin, Thibault

"From documentary to social sciences: how the issue of representing the other emerges." In: Screening culture: constructing image and identity / edited by Heather Norris Nicholson. Lanham, Md.: Lexington Books, c2003.

Main Stack PN1995.9.I49.S38 2003

McCullaugh, Jim.

"Documentaries' Time is Now." (commercial appeal of documentary films) Billboard v104, n37 (Sept 12, 1992):57 (2 pages).

McEnteer, James

Shooting the truth: the rise of American political documentaries Westport, Conn.: Praeger Publishers, c2006.

MAIN: PN1995.9.D6 M38 2006

Miller, Mitchell

"Frame up."Art Review (London, England) v. 3 no. 11 (November/December 2005) p. 58-9

"A new breed of experimental documentary makers is tearing the genre's conventions to shreds. An abiding theme of their experimental documentaries--a loose term that includes "found footage" films, media jamming, and abstract films--is the documentary itself, particularly the contradictions at the heart of what John Grierson called the "creative treatment of actuality." However, while new perspectives are being brought to the craft of documentary, such experimentation continues to be contentious when it confronts our expectations over how a good documentary should be made. A number of recent experimental documentaries are discussed here, including Werner Herzog's Grizzly Man and Pirjo Honkasalo's The 3 Rooms of Melancholia." [Art Index]

Mining the home movie : excavations in histories and memories

Edited by Karen L. Ishizuka and Patricia R. Zimmermann. Berkeley : University of California Press, c2008.

PFA PN1995.8.M56 2008

Table of contents only http://www.loc.gov/catdir/toc/ecip073/2006035372.html

Mitman, Gregg

Reel Nature: America's Romance with Wildlife on Film. Cambridge, Massachusetts and London, England: Harvard University Press, 1999,

MAIN: PN1995.9.A5 M58 1999

Mould, David H. (David Harley)

American Newsfilm, 1914-1919: The Underexposed War / David H. Mould. New York; Garland Pub., 1983. Series title: Dissertations on film.

Moffitt D522.23 .M68 1983

Narwekar, Sanjit

Films Division and the Indian Documentary / Sanjit Narwekar. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1992.

NRLF B 4 080 993 Type EXP NRLF for loan details.

New Challenges for Documentary 2nd ed.

Edited by Alan Rosenthal. Manchester, UK; New York: Manchester University Press; New York: Distributed in the USA by Palgrave, 2005.

Main Stack PN1995.9.D6.N377 2005

PFA PN1995.9.D6.N48 2005

Contents via Google Books">Contents via Google Books

New Challenges for Documentary

Edited by Alan Rosenthal. Berkeley; University of California Press, c1988.

UCB Main PN1995.9.D6 N3771 1988

UCB Moffitt PN1995.9.D6 N377 1988

Nichols, Bill.

Blurred Boundaries: Questions of Meaning in Contemporary Culture / Bill Nichols. Bloomington: Indiana University Press, c1994.

UCB Main PN1995.9.D6 N538 1994

UCB Moffitt PN1995.9.D6 N538 1994

Nichols, Bill.

"Documentary Film and the Modernist Avant-Garde." Critical Inquiry Vol. 27, No. 4 (Summer, 2001), pp. 580-610

UC users only

Nichols, Bill.

"History, Myth, and Narrative in Documentary." Film Quarterly Vol. 41, No. 1 (Autumn, 1987), pp. 9-20

UC users only

Nichols, Bill.

Introduction to documentary Bloomington, Ind.: Indiana University Press, c2001.

MAIN: PN1995.9.D6 N539 2001

Contents via Google Books">Contents via Google Books

Nichols, Bill.

Representing Reality: Issues and Concepts in Documentary / Bill Nichols. Bloomington: Indiana University Press, c1991.

UCB Main PN1995.9.D6 N54 1991

UCB Moffitt PN1995.9.D6 N54 1991

Nichols, Bill.

"What Current Documentaries Do and Can't Do." The Velvet Light Trap - Number 59, Fall 2008, pp. 85-86

UC users only

Nonfiction Film: Theory and Criticism

Edited by Richard Meran Barsam. New York: Dutton, c1976.

UCB Main PN1995.9.D6 N571

Nonfiction Film: Theory and Criticism

Edited by Richard Meran Barsam. New York: Dutton, c1976.

UCB Main PN1995.9.D6 N571 1976a

Nornes, Markus.

Japanese documentary film: the Meiji era through Hiroshima. Minneapolis: University of Minnesota Press, c2003.

Main PN1995.9.D6 N59 2003

Okada, Jun

"The PBS and NAATA Connection: Comparing the Public Spheres of Asian American Film and Video." The Velvet Light Trap - Number 55, Spring 2005, pp. 39-51

UC users only

Orgeron, Marsha; Orgeron, Devin.

"Familial Pursuits, Editorial Acts: Documentaries after the Age of Home Video." The Velvet Light Trap - Number 59, Fall 2008, pp. 47-62

UC users only

Pallister, Janis L.

French-speaking women documentarians: a guide New York: P. Lang, c2005.

MAIN: PN1998.2 .P277 2005

Table of contents http://www.loc.gov/catdir/toc/ecip057/2005002302.html

Picart, Caroline Joan (Kay), ed.

The Holocaust film sourcebook Westport, Conn.: Praeger, c2004.

v. 1. Fiction -- v. 2. Documentary and propaganda.

Media Center PN1995.9.H53.H66 2004

Pilgert, Henry P.

The History of the Development of Information Services Through Information Centers and Documentary Films. [Bonn?] Historical Division, Office of the Executive Secretary, Office of the U. S. High Commissioner for Germany, 1951.

NRLF B 4 135 913 Type EXP NRLF for loan details.

Pingree, Geoffrey B.

"Modern anxiety and documentary cinema in Republican Spain." In: Visualizing Spanish modernity / edited by Susan Larson and Eva Woods. Oxford; New York: Berg, 2005.

Main Stack DP203.5.V58 2005

Table of contents http://www.loc.gov/catdir/toc/ecip0515/2005017026.html

Plantinga, Carl R.

"American documentary in the 1980s." In: A new pot of gold: Hollywood under the electronic rainbow, 1980-1989 / Stephen Prince. Berkeley: University of California Press, [c2002].

MAIN: PN1993.5.U6 H55 1990 v.10

Bus & Econ PN1993.5.U6.H55 1994 vol. 10

Plantinga, Carl R.

Rhetoric and Representation in Nonfiction Film / Carl R. Plantinga. Cambridge, U.K.; New York, N.Y.: Cambridge University Press, 1997. Series title: Cambridge studies in film.

UCB Main PN1995.9.D6 P56 1997

Plasketes, George M.

"Rock on reel: The rise and fall of the rock culture in America reflected in a decade of rockumentaries." Qualitative Sociology Volume 12, Number 1 March 1989, 55 - 71

UC users only

This article analyzes the filmic representation of the rise and demise of the American rock/youth culture of the 1960s through several popular ldquorockumentaries.rdquo This article explores the ways in which popular film and music both reflect and define political and cultural movements in advanced industrial societies by comparing and contrasting the plots and narrative techniques of films such as Monterey Pop (1968),Woodstock (1970),Gimme Shelter (1971) andThe Last Waltz (1978).

Politics and the Media: Film and Television for the Political Scientist and Historian

Edited by M. J. Clark. 1st ed. Oxford; New York: Published for the British Universities Film Council by Pergamon Press, 1979. Series title: Audio-visual media for education and research; v. 1.

UCB Main PN1995.9.D6 .P67 1979

Ponech, Trevor.

What is Non-fiction Cinema?: On the Very Idea of Motion Picture Communication. Westview Press, 1999.

Main Stack PN1995.9.D6P683 1999

Powell, Michael.

Edge of the World / Michael Powell. London; Boston: Faber and Faber, 1990.

UCB Main DA880.F87 P6 1990

Principles of Visual Anthropology

Edited by Paul Hockings. The Hague: Mouton, 1975. Series title: World anthropology.

UCB Anthropol GN27 .P75

Pullen, Christopher

Documenting gay men: identity and performance in reality television and documentary film Jefferson, N.C.: McFarland, c2007.

MAIN: HQ76.2.U5 P85 2007;

Table of contents http://www.loc.gov/catdir/toc/ecip075/2006038029.html

Rabiger, Michael.

Directing the Documentary / Michael Rabiger. Amsterdam; Boston: Focal Press, c2004.

PFA: PN1995.9.D6 R33 2004

Rabiger, Michael.

Directing the Documentary / Michael Rabiger. 2nd ed. Boston: Focal Press, c1992.

UCB Moffitt PN1995.9.D6 R33 1992

Rabiger, Michael.

"Documentary filmmakers decide how to present compelling evidence: using film to tell a story changes nearly everything." (Moving Pictures: Television and Film)." Nieman Reports 55.3 (Fall 2001): 63(2).

UC users only

Rabinowitz, Paula.

They Must be Represented: The Politics of Documentary / Paula Rabinowitz. London; New York: Verso, 1994.

UCB Main PN1995.9.D6 R34 1994

Contents via Google Books

Rabinowitz, Paula

"Medium Uncool: women Shoot Back; Feminism, Film and 1968 -- A Curious Documentary." Science and Society. 65 (1): 72-98. 2001 Spring.

Rabinowitz, Paula

"Wreckage upon Wreckage: History, Documentary and the Ruins of Memory." History and Theory, Vol. 32, No. 2. (May, 1993), pp. 119-137.

UC users only

"Documentary cinema is intimately tied to historical memory. Not only does it seek to reconstruct historical narrative, but it often functions as an historical document itself. Moreover, the connection between the rhetoric of documentary film and historical truth pushes the documentary into overtly political alignments which influence its audience. This essay describes and dissects the history and rhetoric of documentary cinema, tracing its various modes of address from the earliest moments of cinematic representation through its uses for ethnographers, artists, governments, and marginal political organizations in the present. The different uses of documentary result in a wide variety of formal strategies to persuade the audience of a film's truth. These strategies are based on a desire to enlist the audience in the process of historical reconstruction. The documentary film differentiates itself from narrative cinema by claiming its status as a truth-telling mode. However, as a filmic construction, it relies on cinematic semiosis to convince its audience of its validity and truth. By looking at the history of documentary address, this essay outlines the rhetoric of persuasion and evaluates its effectiveness. The documentary calls upon its audience to participate in historical remembering by presenting an intimate view of reality. Through cinematic devices such as montage, voice-over, intertitles, and long takes, documentary provokes its audience to new understandings about social, economic, political, and cultural differences and struggles. The films actively engage with their world; however, often viewers respond to the same devices motivating classic Hollywood narratives. Thus the genre reinforces dominant patterns of vision. Recent challenges to the emotional manipulations of documentary deconstruct its forms and conventions so that the films interrogate not only historical memory but their own investment in its recreation. Imaginative documentaries, such as Claude Lanzmann's Shoah, foreground their partial and contingent qualities, pushing viewers to question cinematic representation and its place in historical memory. Moreover, they ask audiences to think about their place in the films' meanings as well as their responsibility to the past and its interpretations." [JSTOR]

Renov, Michael

The subject of documentary Minneapolis: University of Minnesota Press, c2004.

MAIN: PN1995.9.D6 R44 2004

PFA: PN1995.9.D6 R44 2004

Table of contents http://www.loc.gov/catdir/toc/ecip0412/2003028176.html

Resina, Joan Ramon.

"Historical Discourse and the Propaganda Film: Reporting the Revolution in Barcelona." New Literary History v29, n1 (Wntr, 1998):67 (18 pages).

Rich, B. Ruby.

"Documentary Disciplines: An Introduction." Cinema Journal - 46, Number 1, Fall 2006, pp. 108-115

UC users only

Richter, Robert.

"Long-form documentaries serve a vital journalistic role: today's complexities don't fit into tidy news magazine packages. (Moving Pictures: Television and Film)." Nieman Reports 55.3 (Fall 2001): 59(2).

UC users only

Roberts, Graham.

Forward Soviet!: History and Non-fiction Film in the USSR. I.B. Tauris; In the United States of America and in Canada distributed by St. Martin's Press, 1999.

Main Stack PN1995.9.D6R6 1999

Rollins, Peter

"Ideology and Rhetoric: Three Films of the New Deal Era." In: Hollywood as historian: American film in a cultural context / edited by Peter C. Rollins. Lexington, Ky.: University Press of Kentucky, c1983.

Main Stack PN1995.9.H5.H64 1983

Moffitt PN1995.9.H5.H64 1983

PFA PN1995.9.H5.H64 1983

Rony, Fatimah Tobing.

The third eye: race, cinema, and ethnographic spectacle. Durham [N.C.]: Duke University Press, 1996.

ANTH: GN347 .R55 1996

MOFF: GN347 .R55 1996

ETHN: GN347 .R55 1996;

Rosenthal, Alan

The New Documentary in Action; A Casebook in Film Making. Berkeley, University of California Press, 1971.

UCB Main PN1995.9.D6 R66

UCB Moffitt PN1995.9.D6 R64 *c2 copies

Rosenthal, Alan

Writing, Directing, and Producing Documentary Films / Alan Rosenthal. Carbondale: Southern Illinois University Press, c1990.

UCB Main PN1995.9.D6 R65 1990

UCB Moffitt PN1995.9.D6 R65 1990

PFA: PN1995.9.D6 R64 1996 ref;

Rotha, Paul

Documentary Film [by] Paul Rotha. New York, W.W. Norton & Company, Inc. [1939].

NRLF $B 51 276

Rotha, Paul

Documentary Film; The Use of the Film Medium to Interpret cCreatively and in Social Terms The Life of the People as it Exists in Reality, by Paul Rotha in collaboration with Sinclair Road [and] Richard Griffith. [3d ed., rev. and enl.]. London, Faber and Faber [1952].

UCB Main PN1995.9.D6 R68 1952

Rothman, William.

"Looking back and turning inward: American documentary films of the Seventies." In: Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979 / David A. Cook. Berkeley: University of California Press, 2002.

MAIN: PN1993.5.U6 H55 1990 v.9

PFA PN1993.5.U6.H6 1994 vol. 9

Rothman, William.

Documentary Film Classics / William Rothman. Cambridge, Eng.; New York: Cambridge University Press, 1997. Series title: Cambridge studies in film.

UCB Main PN1995.9.D6 R69 1997

Rowe, John Carlos

"Eye-Witness: Documentary Styles in the American Representations of Vietnam." Cultural Critique, No. 3, American Representations of Vietnam. (Spring, 1986), pp. 126-150.

UC users only

Ruby, Jay.

"Speaking For, Speaking About, Speaking With, or Speaking Alongside: An Anthropological Documentary Dilemma. (reexamination of the social role of documentary filmmakers) Journal of Film and Video v44, n1&2 (Spring-Summer, 1992):42 (25 pages).

Russell, Catherine

Experimental Ethnography: The Work of Film in the Age of Video / Catherine Russell. Durham [N.C.]: Duke University Press, 1999.

Main Stack PN1995.9.D6.R79 1999

The Search for "Reality": The Art of Documentary Filmmaking

Edited by Michael Tobias. Studio City, CA; Michael Wiese Productions, c1998.

Main Stack PN1995.9.D6.S37 1998

Sherman, Sharon R.

Documenting Ourselves: Film, Video, and Culture / Sharon R. Sherman. Lexington, Ky.: University Press of Kentucky, c1998.

UCB Main PN1995.9.D6 S494 1998

Silberman, Marc

"Post-Wall Documentaries: New Images from a New Germany?" Cinema Journal, Vol. 33, No. 2. (Winter, 1994), pp. 22-41.

UC users only

Sklar, Robert.

"Documentaries: Money, Ethics, Audience, and 'Truth.'" Chronicle of Higher Education v43, n35 (May 9, 1997):B9.

Documentary films are one of the most interesting aspect of the modern cinema scene. The genre appears to be thriving despite dwindling public financing and ethical concerns about the manipulation and exploitation of documentary subjects in the past. Recent documentaries represent a return to the historical and journalistic subjects and approaches that comprise the genre's traditional roots. Documentary venues have also shifted from college and university screenings to television, especially public television and cable services, such as the Public Broadcasting Service and Home Box Office.

"Show Us Life": Toward a History and Aesthetics of the Committed Documentary

Edited by Thomas Waugh. Metuchen, N.J.: Scarecrow Press, 1984.

UCB Main PN1995.9.D6 S5 1984

UCB Moffitt PN1995.9.D6 S5 1984

Sklar, Robert.

"Documentary, propaganda, and politics." In: A world history of film New York: Harry N. Abrams, 2002.

Main Stack PN1993.5.A1.S555 2002

Sklar, Robert.

"The new documentary." In: A world history of film New York: Harry N. Abrams, 2002.

Main Stack PN1993.5.A1.S555 2002

Slide, Anthony.

Before Video: A History of the Non-theatrical Film / Anthony Slide. New York: Greenwood Press, 1992. Series title: Contributions to the study of mass media and communications no. 35.

UCB Main TR894 .S55 1992

UCB Moffitt TR894 .S55 1992

Smith, Valerie

"The documentary impulse in contemporary U.S. African-American film." In: Black popular culture / a project by Michele Wallace; edited by Gina Dent. Seattle: Bay Press, 1992.

Main Stack N72.S6.D57 v.8

The Social Documentary in Latin America

Julianne Burton, editor. Pittsburgh: University of Pittsburgh Press, c1990. Series title: Pitt Latin American series.

UCB Main PN1995.9.D6 S57 1990

UCB Moffitt PN1995.9.D6 S57 1990

Spottiswoode, Raymond

Film and its Techniques. Illus. by Jean-Paul Ladouceur. Berkeley, University of California Press, 1951.

UCB Engin TR850 .S65

UCB Main TR850 .S65

NRLF W 128 236 Request item at UCB Bancroft Library.

Stastny, Peter.

"From Exploitation to Self-Reflection: Representing Persons with Psychiatric Disabilities in Documentary Film." Literature and Medicine - Volume 17, Number 1, Spring 1998, pp. 68-90

UC users only

"Filmmaker Stastny examines documentary films that feature persons with disabilities. The essay suggests that a "new polyvocality subverts the traditional psychiatric nomenclature by affirming a right to name personal experiences as one chooses." Making use of theoretical grids from Bill Nichols's Representing Reality and Richard M. Barsam's Non-Fiction Film---A Critical History, Stastny establishes a historical progression in documentaries from the 1930s to the present. His essay categorizes films into documentaries, medical specimens and soulful freaks, psychiatry and Nazi propaganda films, asylum films, autobiographical films, and the films in the future of psychiatry." [Project Muse]

Steel, Jayne

"The Television Documentary and the Real." Journal for the Psychoanalysis of Culture and Society - Volume 8, Number 2, Fall 2003, pp. 330-337 -

UC users only

Stott, William

Documentary expression and thirties America. New York, Oxford University Press, 1973.

GRDS: P92.U5 S75

MOFF: P92.U5 S75

Struggles for Representation: African American Documentary Film and Video

Edited by Phyllis R. Klotman and Janet K. Cutler. Bloomington: Indiana University Press, c1999.

Main Stack PN1995.9.N4.S77 1999

Pioneers of Black documentary film / Pearl Bowser -- Military rites and wrongs: African Americans in the U.S. Armed Forces / Phyllis R. Klotman -- Documenting social issues: Black journal, 1968-1970 / Tomy Lee Lott -- Eyes on the prize: reclaiming Black images, culture, and history / Elizabeth Amelia Hadley -- Paths of enlightenment: heroes, rebels and thinkers / Clyde Taylor -- Rewritten on film: documenting the artist / Janet K. Cutler -- Uptown where we belong: space, captivity, and the documentary of Black community / Mark Frederick Baker and Houston A. Baker, Jr. -- Discourses of family in Black documentary film / Valerie Smith -- Springing tired chains: experimental film and video / Paul Arthur -- Black high-tech documents / Erika Muhammad -- The "I" narrator in Black diaspora documentary / Manthia Diawara.

Stubbs, Liz.

Documentary filmmakers speakNew York: Allworth Press, c2002.

MAIN: PN1995.9.D6 S853 2002

Sturken, Marita.

"Reenactment, Fantasy, and the Paranoia of History: Oliver Stone's Docudramas." History and Theory v36, n4 (Dec, 1997):64 (16 pages).

VIDEORECORDING

Taking Pictures

Australian Film Finance Corporation presents a Vingan Pty Limited production; written, produced and directed by Les McLaren and Annie Stiven. New York, NY: First Run/Icarus Films, 1996. 1 videocassette (56 min.): sd. col. with b&w sequences; 1/2 in. VHS.

UCB Media Ctr VIDEO/C 4933

Tay, Sharon Lin

"Activating the Future: Political Documentaries and Media Activism." Afterimage v. 34 no. 1/2 part Special Issue (July/October 2006) p. 46-7

UC users only

"Part of a special issue on art and activism. The writer reflects on the different political work achievable by media activism and the political documentary. She asserts that one notion of media activism involves acting in the present with a view to effecting political change, which is different from the work of documentary films that look back at actual horrific events and document and dramatize postconflict situations. Regarding this difference, she considers Jane M. Gaines's question about the significance of viewing political documentaries in the absence of a struggle, and Linda Williams's exploration of the contingency of documentary truth. As an example, she compares Lynn Lee and James Leong's 2005 film Passabe, which concerns the postconflict situation in East Timor, with the documented accounts of media activism that led to Timorese independence." [Art Index]

Theorizing Documentary

Edited by Michael Renov. New York; Routledge, 1993. Series title: AFI film readers.

UCB Main PN1995.9.D6 T45 1993

Tomaselli, Keyan G.; Shepperson, Arnold.

"Course File for "Documentary Film, Visual Anthropology, and Visual Sociology."" Journal of Film and Video v49, n4 (Winter, 1997):44 (14 pages).

Trinh T. Minh-Ha

"Documentary Is/Not a Name." October, Vol. 52. (Spring, 1990), pp. 76-98.

UC users only

Turvey, G.

"Panoramas, parades and the picturesque: the aesthetics of British actuality films, 1895-1901." Film History v. 16 no. 1 (2004) p. 9-27

UC users only

"Part of a special section on early British cinema. British actuality films between 1895 and 1901 do not represent the naive recording of raw location and actuality footage. From the beginning, early cinematography was approached with a sense of artistry and a feeling for the integrity of each specific image. A set of aesthetic principles and procedures was operating within the practice of the actuality filmmakers. These drew partly on approaches that had already been developed within photography, lantern shows, and, even earlier, in painting; and partly on characteristics that were felt to be particular to the novelty of cinematography. Consequently, even at the moment of its birth, actuality cinema was functioning with a unique and sophisticated aesthetic system, the short-lived originality of which would be rapidly eclipsed by the rise of the multishot, edited narrative film." [Art Index]

Vaughan, Dai.

For documentary: twelve essays / Dai Vaughan. Berkeley: University of California Press, c1999.

Main Stack PN1995.9.D6.V33 1999

Vertov, Dziga

Kino-eye: The Writings of Dziga Vertov / edited with an introduction by Annette Michelson; translated by Kevin O'Brien. Berkeley, Ca.: University of California Press, c1984.

UCB Main PN1995.9.D6 V44 1984

UCB Moffitt PN1995.9.D6 V44 1984 *c2 copies

Virtual voyages: cinema and travel

Jeffrey Ruoff, editor. Durham: Duke University Press, 2006.

Anthropology PN1995.9.T73.V57 2006

Main Stack PN1995.9.T73.V57 2006

Table of contents http://www.loc.gov/catdir/toc/ecip0519/2005026240.html

Wahlberg, Malin.

Documentary time : film and phenomenology Minneapolis : University of Minnesota Press, c2008.

MAIN: PN1995.9.D6 W24 2008; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip0717/2007019083.html

Walker, Janet

Trauma cinema: documenting incest and the Holocaust. Berkeley: University of California Press, c2005.

MAIN: PN1995.9.D6 W26 2005; MOFF: PN1995.9.D6 W26 2005; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip0419/2004014327.html

Waley, H. D.

"British Documentaries and the War Effort." The Public Opinion Quarterly, Vol. 6, No. 4. (Winter, 1942), pp. 604-609.

UC users only

Ward, Paul.

Documentary: the margins of reality London: Wallflower, 2005. Short cuts (London, England)

Main Stack PN1995.9.D62.W37 2005

Moffitt PN1995.9.D62.W37 2005

Wells, Paul

"The documentary form: personal and social 'realities'." In: An Introduction to film studies / edited by Jill Nelmes. 2nd ed. London; New York: Routledge, 1999.

Main Stack PN1994.I537 1999

PFA PN1994.I59 1999

White, Sydnye

"Documentary by Design." Cinema Journal v. 45 no. 2 (Winter 2006) p. 92-5

"Part of a special section on screenwriting in the United States. The writer discusses changes in the production of documentaries. Whereas, in the past, documentary filmmakers wrote to the subject and the story, and then used their script as a blueprint for going out with their cameras and questions and exploring the world, they now expend a lot of their creative energy writing scripts that satisfy the demands, or at least sidestep the objections, of executives, lawyers, and underwriters. During the early 1990s, everyone was happy as long as the documentary turned out to be both interesting and educational, but now the same executives wish to be briefed at every step during the process. Once a collaborative process, editing is now frequently a harried scramble in which suggestions and dialog are barked commands." [Art Index]

DISSERTATION

Widgery, Claudia J.

The Kinetic and Temporal Interaction of Music and Film: Three Documentaries of 1930's America / by Claudia Joan Widgery. 1990.

UCB Music MICROFILM.AA3177 v.1-3 (1 microfilm reel) (1990)

Winston, Brian.

"Documentary and history on film: Brian Winston looks back at some of the ways in which history has been presented on the screen, and sees the documentary based on archival footage as intrinsic to its success." History Today 56.1 (Jan 2006): 29(5).

UC users only

Wolfe, Charles.

"Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s." In: Lovers of Cinema: The First American Film Avant-Garde, 1919-1945. Edited by Jan-Christopher Horak. pp: 234-66. Madison, Wis.: University of Wisconsin Press, c1995. Wisconsin studies in film

Main Stack PN1995.9.E96.L68 1995

Wright, Basil.

The Use of the Film / Basil Wright. London: Bodley Head, 1948.Series title: New developments; no. 6.

NRLF B 3 567 539 T

Ye Lou.

"Popular Documentary Films." Beijing Review v41, n26 (June 29, 1998):28 (2 pages).

Documentary films are gaining popularity in China. The Chinese motion picture industry and the television broadcasting companies are producing more features about Chinese leaders and history. Among the leaders who have been prominently featured in documentary films are Mao Zedong, Zhou Enlai and Deng Xiaoping. Documentary films used to be shown prior to main features in Chinese cinemas until they were edged out by more commercial films. Documentary features have been revived since and are enjoying much popularity.

Individual Directors/Producers, and Film Movements

Alan Berliner

Alyssa Katz.

"Nobody's Business." The Nation June 9, 1997 v264 n22 p35(2)

Leonard, John

"Nobody's Business." New York June 9, 1997 v30 n22 p85(2)

Lopate, Phillip

"American family life wittily revealed." (Alan Berliner's documentary films about his own family, 'The Family Album,' 'Intimate Stranger' and 'Nobody's Business') The New York Times Jan 12, 1997 v146 s2 pH29(N) pH29(L) col 1 (35 col in)

Martin, Ann

"Filmic memories." Film Quarterly; Vol.LII nr.1 (Fall 1998); p.54-71

UCB users only

Collection of brief essays in which filmmakers, critics and scholars discuss what made them fall in love with film. Incl. essays by Gideon Bachmann, Alan Berliner, Les Blank, Kevin Brownlow, David Ehrenstein, P?ter Forg?cs, Philip Lopate, Chris Marker, Eliseo Subiela, John Woo and others.

Maslin, Janet

"Intimate Stranger." (New York Film Festival) (Living Arts Pages) (Alice Tully Hall, New York, New York) (movie review) The New York Times Oct 4, 1991 v141 pB10(N) col 4 (17 col in); Oct 3, 1991 v141 pC21(L) col 1 (14 col in)

McCarthy, Todd .

"Intimate Stranger." (movie reviews) Variety Feb 10, 1992 v346 n4 p82(1)

Les Blank

Brasseaux, Carl A.

"French Dance Tonight." (movie reviews) Journal of American History v78, n3 (Dec, 1991):1186 (3 pages).

Brassieur, C. Ray.

"Marc and Ann." (movie reviews) Ethnomusicology v37, n1 (Wntr, 1993):149 (3 pages).

Brassieur, C. Ray.

"J'ai Ete au Bal" (I Went to the Dance): The Cajun and Zydeco Music of Louisiana. (movie reviews) Ethnomusicology v37, n1 (Wntr, 1993):149 (3 pages).

Canby, Vincent

"J'ai Ete au Bal." (Living Arts Pages) (movie review) (movie reviews) The New York Times April 6, 1990 v139 pB12(N) pC21(L) col 1 (14 col in)

Martin, Ann

"Filmic memories." Film Quarterly; Vol.LII nr.1 (Fall 1998); p.54-71

Collection of brief essays in which filmmakers, critics and scholars discuss what made them fall in love with film. Incl. essays by Gideon Bachmann, Alan Berliner, Les Blank, Kevin Brownlow, David Ehrenstein, P?ter Forg?cs, Philip Lopate, Chris Marker, Eliseo Subiela, John Woo and others.

UCB users only

Forry, Mark E.

"Ziveli: Medicine for the Heart." (movie reviews) Ethnomusicology v33, n2 (Spring-Summer, 1989):365 (3 pages).

Gutierrez, Paige.

"Yum, Yum, Yum!: A Taste of the Cajun and Creole Cooking of Louisiana." (video recording reviews) Journal of American Folklore v107, n424 (Spring, 1994):316 (3 pages).

Hagedorn, Katherine J.

"Sworn to the Drum: A Tribute to Francisco Aguabella." (movie reviews) Ethnomusicology v41, n2 (Spring-Summer, 1997):326 (4 pages).

Harvey, Dennis.

"The Maestro: King of the Cowboy Artists." (movie reviews) Variety v359, n1 (May 1, 1995):39.

Hawkins, Corinne Cullen.

"Burden of Dreams." (video recording reviews) Whole Earth Review, n62 (Spring, 1989):112.

Horton, Andrew.

"Heaven before He Dies: Les Blank's Cinema Vitalite." New Orleans Review, vol. 15 no. 2. 1988 Summer. PAGES: 30-34.

Jones, Loyal.

"Julie: Old Time of the Blue Ridge." (video recording reviews) Journal of American Folklore v105, n418 (Fall, 1992):486 (2 pages).

Lindahl, Carl.

"Marc and Ann: A Visit to Cajun Country with Marc and Ann Savoy." (video recording reviews) Journal of American Folklore v106, n422 (Fall, 1993):484 (58 pages).

Lindahl, Carl.

"J'ai Ete au Bal" (I Went to the Dance): The Cajun and Zydeco Music of Louisiana. (video recording reviews) Journal of American Folklore v106, n422 (Fall, 1993):484 (58 pages).

Maslin, Janet

"In heaven there is no beer?" (movie reviews) The New York Times May 23, 1984 v133 p20(N) pC24(L) col 2 (6 col in)

Maslin, Janet

"Sprout wings and fly." (movie reviews) The New York Times May 23, 1984 v133 p20(N) pC24(L) col 2 (9 col in)

McCarthy, Todd.

"Innocents Abroad." (movie reviews) Variety v346, n2 (Jan 27, 1992):51.

O'Connor, John J.

"Burden of dreams." (television program reviews) . The New York Times June 11, 1982 v131 p25(N) pC30(L) col 1 (10 col in)

Pareles, Jon

"A film maker's focus: music, food and people." The New York Times May 30, 1984 v133 p18(N) pC21(L) col 1 (22 col in)

Patterson, G. James.

"Ziveli: Medicine for the Heart." (movie reviews) American Anthropologist v90, n2 (June, 1988):485 (2 pages).

Peters, Nancy J.

"Long live the living! Les Blank's 'Always for pleasure'." (1979) Socialist Review Wntr-Spring 2001 v28 i1-2 p139(3)

"This article is a reprint from a 1979 edition of surrealist periodical 'Cultural Correspondence,' no. 10-11. The author discusses parades in New Orleans as an expression of spontaneous and communal joy in an increasingly Disneyifed culture, as seen through a film byLes Blank." [Expanded Academic Index]

Santoro, Gene.

"Music through Blank eyes." (Les Blank's films) Down Beat v55, n1 (Jan, 1988):60 (2 pages).

Scruggs, T.M.

"Chulas Fronteras." (video recording reviews) Ethnomusicology Fall 1999 v43 i3 p572(7)

Scruggs, T.M.

"Del Mero Corazon." (video recording reviews) Ethnomusicology Fall 1999 v43 i3 p572(7)

Smith, R. J.

"Les Blank's Americans: his films document vanishing cultures." High Fidelity March 1985 v35 p75(3)

Sovine, Melanie L.

"Sprout wings and fly." (movie reviews) American Anthropologist June 1987 v89 n2 p522(4)

Vandershaf, Sarah.

"Garlic is as Good as Ten Mothers." (video recording reviews) Whole Earth Review, n62 (Spring, 1989):112.

Whitehead, Kevin.

J'ai Ete an Bal." (video recording reviews) Down Beat v58, n4 (April, 1991):61.

Nick Broomfield

Schilt, Paige.

"Media Whores and Perverse Media: Documentary Film Meets Tabloid TV in Nick Broomfield's Aileen Wuornos: The Selling of a Serial Killer." The Velvet Light Trap 45 (Spring 2000): 50-61.

Ken Burns

Individual videographies (US History/Politics; Pop Culture, etc.) for reviews of individual films by Burns

Ken Burns

Ken Burns has revolutionized the art of making documentaries, bringing American history to life in a very personal way. In this program, he discusses the painstaking research, hands-on techniques and limitless energy that have won him fame. Biographical details such as how he got his start, who influenced him, and where he finds inspiration offer an illuminating glimpse of this remarkable artist. Film clips from his documentaries underscore the power of his methods and the passion of his vision. Originally aired on CBS Eye on People on September 3, 1998. 45 min. Video/C 7386

Burns, Ken.

Current Biography v53, n5 (May, 1992):6 (5 pages).

Cripps, Thomas.

"Historical Truth: An Interview with Ken Burns." American Historical Review v100, n3 (June, 1995):741 (24 pages).

UC users only

"Although documentary film is almost as old as the American Historical Review (AHR) itself, historicalfilm did not have a place in the pages of the journal until very recently. The first sustained discussion of history on film did not appear in the journal until 1988. This discussion was followed the next year by the debut of an annual film review section. In subsequent years, special AHR Forums were also devoted to such important feature films as JFK and Malcolm X. This article prints the text of an interview withdocumentary filmmaker Ken Burns. The interview reveals Burns's understanding of his position in the history of documentary film. In addition, Burns hasmuch of interest to say about the work of academic historians, the relationship of visual media to politics, and our country's need for a usable past that is both accessible to a large number of people (unlike most academic history) and presented in a way that will allow us to shape a common identity." [ABC-CLIO America History and Life]

Edgerton, Gary R. (Gary Richard)

Ken Burns's America / Gary R. Edgerton. 1st ed. New York: Palgrave for St. Martin's Press, 2001.

UCB Main PN1992.5.B79 E34 2001

Edgerton, Gary.

"Ken Burns's America: Style, Authorship, and Cultural Memory." (includes videography) Journal of Popular Film and Television v21, n2 (Summer, 1993):50 (13 pages).

UC users only

Edgerton, Gary.

"Ken Burns - A Conversation with Public Television's Resident Historian." Journal of American Culture, vol. 18 no. 1. 1995 Spring. pp: 1-12.

Edgerton, Gary.

"'Mystic Chords of Memory': The Cultural Voice of Ken Burns." In: In the eye of the beholder : critical perspectives in popular film and television / edited by Gary R. Edgerton, Michael T. Marsden, and Jack Nachbar. Bowling Green, OH : Bowling Green State University Popular Press, c1997.

Main Stack PN1995.I565 1997

Moffitt PN1995.I565 1997

Harlan, David

"Ken Burns and the Coming Crisis of Academic History." Rethinking History Volume 7, Number 2 / June 2003 169 - 192

UC users only

"Ken Burns is the most famous historian in the USA. His films are immensely popular: The Civil War may have been seen by as many as a hundred million people. That would make it the most popular history ever written or produced. His eighteen-hour history of baseball would be second and Jazz - the final instalment in his trilogy of American history - would be third. At a time when Americans are said to be uninterested in history, Ken Burns has become a household name. His particular way of seeing the past has become part of the texture of American cultural life. But he has not fared well in academia. When historians review his films, they routinely condemn them as ponderous, nostalgic, hagiographic, simplistic and so on. And they don't treat popular history much better: it is almost always dismissed as a form of mass entertainment, full of amusing anecdotes and colourful tales but lacking any real analysis or historical understanding - in other words, a lightweight substitute for the real thing. But Burns and other popular historians are doing something important. They are making new truth claims about the past. 'Ken Burns and the coming crisis of academic history' begins with a reinterpretation of Burns' major work, describes the concomitant rise of what might be called 'The new popular history', and explains why that new history will necessarily and inevitably change the way we academic historians go about our work." [Taylor and Francis]

Leventhal, Larry.

"One man's 'Civil War' is another's foundation." (Ken Burns)(Profile: Corporation for Public Broadcasting) Variety v348, n9 (Sept 21, 1992):73 (3 pages).

Mifflin, Lawrie.

"A 10-year bet on Ken Burns." (General Motors to underwrite the future film projects of the documentarian)(Living Arts Pages) New York Times (Wed, June 16, 1999):B10(N), E10(L), col 3, 15 col in

Pedersen, Martin C.

"Ken Burns Makes History Happen Now."(Interview) Graphis v54, n315 (May-June, 1998):96 (6 pages).

Reynolds, Jerry.

"A TPQ Interview: Jerry Reynolds Talks with Ken Burns." Text and Performance Quarterly, vol. 12 no. 1. 1992 Jan. pp: 79-84.

Robertson, Lori

"Ken Burns on Journalism." (Interview) American Journalism Review Sept 2001 v23 i7 p12

UC users only

Rose, Vivien Ellen.

"A trademark approach to the past: Ken burns, the historical profession, and assessing popular presentations of the past." Public Historian 25.3 (Summer 2003): 49(59).

UC users only

Thelen, David

" The Movie Maker as Historian: Conversations with Ken Burns." The Journal of American History Vol. 81, No. 3, The Practice of American History: A Special Issue (Dec., 1994), pp. 1031-1050

UC users only

Tibbetts, John C.

"The Incredible Stillness of Being: Motionless Pictures in the Films of Ken Burns." American Studies v37, n1 (Spring, 1996):117 (17 pages).

"Surveys the films of Ken Burns, 1982-92, and his use of historical still photographs to illustrate the tension between imitation and authenticity. Burns serves as both historian and storyteller, and as a sensitive interpreter of still photographs. He uses photographs to foster illusions as well as in their usual role as archival images. Central to his purpose seems to be use of the photograph to persuade as well as to tell the truth. There is frequently a tension between the two." [ABC-CLIO: America History and Life]

Toplin, Robert Brent

"The Filmmaker as Historian." The American Historical Review Vol. 93, No. 5 (Dec., 1988), pp. 1210-1227

UC users only

Vause, Mikel

"Capturing the American Experience: A Conversation with Ken Burns." Weber Studies: Voices and Viewpoints of the Contemporary West, vol. 23, no. 1, pp. 2-15, October 2006

Weisberger, Bernard A.

"The Great Arrogance of the Present is to Forget the Intelligence of the Past." (interview) American Heritage v41, n6 (Sept-Oct, 1990):96 (6 pages).

Welebit, Diane.

"The Simple Life." ("The Shakers--Hands to Work, Hearts to God") Americana, vol. 15 no. 4. 1987 Sept.-Oct. pp: 37-39.

Baseball

Ward, Geoffrey C.

"Learning to like baseball. American Heritage Oct 1994 v45 n6 p86(6)

Weigel, George

"Baseball." (television program reviews) Commentary Nov 1994 v98 n5 p46(6)

The Civil War

Blight, David W.

"Homer with a camera: our Iliad without the aftermath: Ken Burns' dialog with historicans." Reviews in American History 1997 25(2): 351-359.

"Reviews Ken Burns's The Civil War: Historians Respond (1996) edited by Robert Brent Toplin, a collection of essays by nine historians who assess the accuracy of the documentary series and discuss the challenges of historian-filmmaker collaborations.

Basel, Anke.

"Ken Burns's Film Series The Civil War: An Attempt At American Self-Definition." Amerikastudien/American Studies [Germany] 1995 40(2): 283-289.

"The great success of Ken Burns's 1990 Public Broadcasting System (PBS) documentary film series The Civil War has to be attributed both to a highly professional public relations campaign and to its coincidental release during the buildup for the Persian Gulf War. Furthermore, the positive reception of the Civil War series must be situated within the context of the social and psychological crises of US society at the end of the 1980's. Burns's portrayal of the Civil War captured American viewers on an emotional level and created a new self-image. A look beyond the audience reception at the actual design and structure of the series reveals significant insights. Burns created a fictional narrative rather than a historical account out of highly heterogeneous material, thus presenting a coherent and consensus-oriented plot. The film's various storylines are artfully integrated and lead up to a comprehensive interpretation of the Civil War. The characters in this story are heroicized and celebrated, and ultimately set up as shining examples of commitment to country. The film suggests a total reconciliation betweeen North and South and argues the end of the war was unproblematic for all white Americans." [ABC-CLIO America History and Life]

Blight, David W.

"Ken Burns's the Civil War: Historians Respond." Reviews in American History 25.n2 (June 1997): 351(9).

Bowers, John.

"The Civil War." (television program reviews) Americana v18, n4 (Sept-Oct, 1990):18 (3 pages).

Burns, Ken; Thelen, David, interviewer.

"The Movie Maker As Historian: Conversations With Ken Burns." Journal of American History 1994 81(3): 1031-1050.

"Prints the text from two combined interviews with filmmaker Ken Burns conducted during 1994 in which he reflects upon, among other things, the relationship between film and history, his use of particular histories to relate a story, the framework of understanding he uses to create his films, and how he relates to the audience his films are intended for. The exchange pays attention to his film series, The Civil War." [ABC-CLIO America History and Life]

Cole, Lewis.

"The Civil War." (movie reviews) Nation v251, n19 (Dec 3, 1990):694 (5 pages).

Cripps, Thomas.

"Historical Truth: An Interview with Ken Burns." American Historical Review v100, n3 (June, 1995):741 (24 pages).

DeCredico, Mary A.

"Image and reality: Ken Burns and the Urban Confederacy." (American Civil War photographer) Journal of Urban History v23, n4 (May, 1997):387 (19 pages).

UC users only

DuBois, Ellen Carol.

"The Civil War." (video recording reviews) American Historical Review v96, n4 (Oct, 1991):1140 (3 pages).

Farrell, Bill.

"All in the Family: Ken Burns's The Civil War and Black America." Transition: An International Review, vol. 58. 1992. pp: 169-73.

Henderson, Brian.

"The Civil War: 'Did It Not Seem Real?'" Film Quarterly, vol. 44 no. 3. 1991 Spring. pp: 3-14.

Henderson, Brian

"The Civil War: "Did It Not Seem Real?" Film Quarterly > Vol. 44, No. 3 (Spring, 1991), pp. 2-14

UC users only

Ken Burns's The Civil War: The Historian's Response.

Edited by Robert Brent Toplin. New York: Oxford University Press, 1996.

Main Stack E468.9.K46 1996

Moffitt E468.9.K46 1996

Koeniger, A Cash.

"Ken Burns's "The Civil War": Triumph or Travesty?" The Journal of Military History. Apr 1991. Vol. 55, Iss. 2; p. 225

McPherson, Tara.

"'Both Kinds of Arms': Remembering the Civil War." The Velvet Light Trap, vol. 35. 1995 Spring. pp: 3-18.

Morrison, Michael A.

"The Limitations of Classroom Media: Ken Burns' Civil War Series as a Test Case." Journal of American Culture, vol. 19 no. 3. 1996 Fall. pp: 39-49.

UC users only

Nelson, Michael C.

"Writing during Wartime: Gender and Literacy in the American Civil War." Journal of American Studies, vol. 31 no. 1. 1997 Apr. pp: 43-68.

O'Connor, John E.

"Ken Burns's 'The Civil War': Historians Respond." Journal of American History 84.n1 (June 1997): 241(2). E

Peacock, James.

"Was It Not Real? Democratizing Myth through Ken Burns's The Civil War." In: Images of the South: Constructing a Regional Culture on Film and Video. / Karl G. Heider, editor. pp: 112-23. Athens: University of Georgia Press, c1993. Southern Anthropological Society proceedings; no. 26

Anthropology PB1995.9.S66.I4 1993

Purcell, Hugh.

"The Civil War." (television program reviews) History Today v41 (May, 1991):7 (3 pages).

Ruffner, Kevin Conley.

"The Civil War." (video recording reviews) American Studies International v29, n1 (April, 1991):98 (4 pages).

Simpson, Brooks D.

"The Civil War: Historians Respond." Civil War History March 1997 v43 n1 p71(4)

Summers, Mark Wahlgren.

"The Civil War." (video recording reviews) Journal of American History v77, n3 (Dec, 1990):1106 (2 pages).

Wesolowski, Karen.

"Our American Iliad: A Television History of the Civil War." (Private Profit, Public Gain: Corporate Philanthropy in America)Atlantic v266, n3 (Sept, 1990):S35 (2 pages).

Frank Lloyd Wright

Leonard, John.

"Frank Lloyd Wright." (television program reviews) New York v31, n34 (Nov 16, 1998):80.

Marin, Rick.

"Frank Lloyd Wright." (television program reviews) Newsweek (Nov 16, 1998):87.

Ouroussoff, Nicolai.

"PBS' Frank Lloyd Wright film explores the genius without, the mercurial spirit within." (Renowned American architect Frank Lloyd Wright profiled in new PBS documentary by Ken Burns; Blueprint of an architect) Los Angeles Times (sun, Nov 10, 1998):F1, col 2, 20 col in.

Rosenberg, Howard.

"The Ken Burns stamp of documentary-making is all over a project worthy of its subject." (New PBS documentary on Frank Lloyd Wright by Ken Burns; Blueprint of an architect) Los Angeles Times (sun, Nov 10, 1998):F1, col 2, 24 col in.

Sandefur, Tim.

"Frank Lloyd Wright's Humanism." (documentary on the architect) Humanist v59, n3 (May, 1999):40.

UC users only

The work and endeavors of famed architect Frank Lloyd Wright have been extolled in a moving documentary by Ken Burns. Though some of the accounts of Wright's work are erroneous, most comments on his work are fact-based and complimentary.

Jazz

"All that Jazz."(Review) (television program review) Maclean's (Jan 15, 2001):50.

Amaya, Hector

"Racialized Documentary Reception of Ken Burns' Jazz" Television & New Media, vol. 9, no. 2, pp. 111-130, May 2008

UC users only

Blumenf